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I know there are penalties for slow play but I can't find anything about fast play. There's someone at locals that goes so fast through his combos that he doesn't let people have enough time to respond

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Playing 16ths at 160 bpm when playing one note on one string is a piece of cake compared to playing 16th-note single note per string arpeggios alternately picked at 160 bpm (for example, Glass Prison).

If you want to explore some faster speeds, you could try some licks that can be played with a mixture of picking and pulloffs, you may be surprised how much faster you can go, and Yngwie himself does a lot of that!

As for speed, scaler line 16ths from 160bpm onwards is fast, with 200bpm being the benchmark for elite players (anything beyond that tends to have diminished returns as far as musicality goes - in my opinion).

If you want to walk away from the table with as many chips as possible, you need to know how to choose between fast-playing and slow-playing. Reading this article will help you do that.

The first important point to note is that you should not play all strong hands the same way every time. If you are always fast-playing or always setting a trap, you are making a mistake.

Since flopped sets are the hand type you will have most often when deciding between fast-playing and slow-playing, they will be used for each example in this article. That said, the same advice applies to any super strong hand.

Some players might even be ecstatic to get all-in on the flop with aces or kings, even on wet boards. Raise big versus these players and they will walk away with a bad beat story as you stack their chips.

One of the first articles that I ever wrote for CardPlayer came from early 2012 and it had to do with playing a flopped nut flush fast in order to maximize your value. Although this spot does not come up all that often it continues to be one of the most misplayed situations that I observe in No Limit cash games.

Of course there is a third reason not to slowplay the nut flush because action-killing cards can come out such as a fourth suit or the board pairing. But the simple fact of the matter is that you are only really going to win a big pot on a monotone board when someone has a big hand along with you and the best way to play your hand the most deceptively and to guarantee that you get all of the money is by playing the hand fast, end of story.

When I try, all the notes get muddy, and if it's really bad I just can't play it and I have to stop. No matter how or how much, I practice, when I try to play it the way it should be played, (In short) It sounds horrible. Other students my level seem to play fast with no problem, so why can't I? what am I doing wrong, or what am I not doing right?

practice slowly but move as if you were plaing fast. that means: very little bow, if detache, very efficient string crossings, always a good on the string feeling with the bow... evenness of up and down bow.

For practicing: make variations: play in differnet tempo with different accents, for exampe accent every down bow. then every upbow. then every third note. pracitce with opposite bowing as written. start upbow if its written downbow.

use a metronom: start slow go fast in little steps, remember to move as if playing fast always. You must learn the right movements from the start. play with dotted rythm (especially for fast legato) play fast! play over tempo. if it sounds messy, play little sections, a bar or less. Let the sections overlap. try in tempo again and go back to practice like i wrote when you have a problem.

Use easier material** when you drive to increase speed. Set the metronome at a pace where you can play the material error-free. Then go up 5 bpm and try again. Keep doing this in 5 bpm increments till you begin to have trouble. If you have errors, don't increase the speed. Isolate the trouble spots and work them out. Then try once again at your most recent speed.

* When it comes to bowing the weight of the bow preasure must complament your contact point. I.E. Light presure at the contact point nearest the bridge will produce ponticello. Using the same presure midway to slightly over the fingerboard will give other sounds an neuances.)On youtube you'll see some fiddlers playing rather close to or over the fingerboard (notice the rosin build up.)

If you're tackling a fast passage of any substantial length, try breaking it up into small chunks, working on each segment till you bring it up to tempo and can play it cleanly. Then start connecting the segments -- incrementally if necessary.

In orchestra, remember that you're not responsible for all of the notes. Of course, you should nail as many as you can in good form, but keep in mind: The note you didn't play in a tricky run is probably a note that your desk partner did play. And the note the desk partner left out is probably one of those you played successfully. It's a safe guess that no one in the audience will be aware of such mini-flaws.

These are all components to clear tone in fast passages. Moto perpetuo's a good exercise, as well as scales (the staple of any musician's menu), Sevcik, and Schradieck. You must deliver each finger on the left hand with clarity; you should be able to hear the pitch when you bring down your fingers onto the fingerboard without plucking or bowing.

My own tip is to practice notes in clusters of three or four till you can play them with a single "throw" of the left hand fingers. Then you join the "throws" together. I try to get a sense that the finger drop triggers the bow, not the other way around. That way the finger is in place before the stroke begins, and things sound cleaner.

May 7, 2012 at 12:50 PM Jim wrote: "In orchestra, remember that you're not responsible for all of the notes. Of course, you should nail as many as you can in good form, but keep in mind: The note you didn't play in a tricky run is probably a note that your desk partner did play. And the note the desk partner left out is probably one of those you played successfully. It's a safe guess that no one in the audience will be aware of such mini-flaws."

AhhAAH! Orchestra as a collaborative effort - at least for the strings, don't try this if you play the triangle.... But THATS why people like to play in orchestras and not solo, you don't actually have to play everything!

Maybe orchestra is not so bad after all... I mean, for example, you could make a deal with your stand partner to play every other note on a long run and decide who is responsible for each gerbil zone entry.. hey, if the whole section got involved you could really achieve the concordance of one instrument. And I mean one instrument...

Some things to look at with the bow arm: straight bowing, flexible fingers with bow movement, wrist bending with some string crossings. We want to see less arm movement and more wrist and finger movement when we play faster.

Right hand: Fingers close to finger board, light touch, third finger stays (hovers) over string being played. So if you are playing a lot of notes on the G string, check to make sure the third finger isn't hovering over the A string.

Starting on the A string play a one octave A scale and watch the left hand, fingers, wrist and thumb. What you are looking for is excessive movement of these body parts. We definitely don't want to see any wrist or thumb movement, just some light up and down movements of the fingers.

May 7, 2012 at 02:17 PM Another thing to bear in mind with some orchestral pieces is that, especially with modern works, the composer is trying to get a particular effect. The result is likely to be that there will be at least one passage that, to put it kindly, does not lie easily under the fingers or bow, or, next step up, is next to impossible to play as written and up to tempo unless you are prepared to practice it for ever and a day. The logical answer when faced with this conundrum is to play to the effect the composer wants. I've been in this situation with Sibelius, and the conductor was very helpful with advice to this end.

From my experience, you can't learn to play something fast by playing it slowly. To play fast you have to practice it fast. This does not mean that you practice the whole piece at full tempo over and over again. Nothing will be accomplished from that form of practice. A good piece to learn how to play at a fast tempo would be Paganini Moto Perpetuo. I would practice it in groups of 4 with stops in between. All the other things discussed still stand. You fingers should not be flying all over the place, you should't be gripping the violin with your left hand, you should be using the wrist and fingers of the right hand for this piece, you should be practicing it somewhere near the middle of the bow, because it will be sautille at full tempo. Do not go for sautille. I would also vary the rhythm. first long short, then short long so that all the fingers learn to fall on the finger board with speed. It is very important that you stop between each group of 4 for now so that you can be ready for the next group of 4 following etc. Go for a good sound which means the bow has to be in the string. I don't know your level of proficiency but if the Paganini is not your level then use a piece that you are working on. The same principles apply but you may have to break it into groups of 2 or 4 or 6 depending on the piece. 006ab0faaa